Vol.  V  FOURTH  SERIES.  No.  i. 


THE 


REFORMED 


Church  Review 


EDITOR : 
WILLIAM  RUPP,  D.  D., 

Professor  in  the  Theological  Seminary,  Lancaster,  Pa. 


YE  SHALL  KNOW  THE  TRUTH,  AND  THE  TRUTH  SHALL  MAKE  YOU  TREE. 


VOLUME  V. 


JANUARY,   1901. 


PUBLISHED  BY 

THE  REFORMED  CHURCH  PUBLICATION  BOARD, 

AT  LANCASTER,  PA. 


TWO  DOLLARS  A  YEAR*.  TO  BE  PAID  IN  ADVANCE 


CONTENTS    OF    JANUARY    NUMBER. 


Article  I. — Nature,  an  Organized  System i 

By  REV.  DR.  JACOB   COOPER. 

II. — English  Versions  of  the  Dies  Ira±.        ...        24 
By  THOS.  C.  PORTER,   D.D.,  LL.D. 


i  < 


*  < 


<  1 


III.— A   Brief  Review  of  the  History  of  the  Doc- 
trine of  the  Atonement 33 

By  REV.  T.  S.  LAND. 

IV. — Religion  and   Politics 48 

By  JOHN  W.  APPEL,  ESQ. 

V. — How  Wide  is  an  Inch? 65 

By  REV.  A.  ZIMMERMAN,   AM. 

VI. — The  Influence  of  the  Natural  Sciences  on  the 

Intellectual  Life  of  the  Age.    (First  Paper.)        88 

By  RICHARD  C.  SCHIEDT,  Ph.D. 

"    VII. — Editorial  Department 99 

"VIII. — Notices  of  New  Books 121 


•  1 


1 


THE 


Reformed  Church  Review 


NO.  1 -JANUARY,  1901. 


IS    CAPABLE    OF    COMPREHENDING    It. 

To  the  man  of  eager  desire  for  knowledge,  whose  mind  is  as 
fair  and  truthful  as  external  Nature  ;  in  a  word  whose  intellect 
has  been  so  purged  from  prejudice  and  error  that  it  has  become 
a  constituent  part  of  that  subject  which  he  is  investigating,  there 
is  room  for  unending  progress,  with  assurance  that  he  is  standing 
on  unshaken  basis.  To  him  all  nature  in  every  part  of  her  king- 
dom, whether  material  or  spiritual,  past,  present  or  to  come,  all 
alike  seems  to  be  a  part  of  an  organized  system  ;  and  therefore  as 
he  is  himself  a  part  thereof  he  possesses  an  intellect  fitted  for  its 
comprehension. 


II. 

ENGLISH  VERSIONS    OF  THE   DIES  IRM. 

BY   THOS.    C.    PORTER,    D.D.,    LL.D. 

Amongst  the  famous  hymns  that  have  come  down  to  us  from 
the  Middle  Ages  the  highest  place  has  been  awarded  to  the 
"  Dies  irae  "  of  Thomas  de  Celano,  a  Franciscan  monk  of  Italy, 
who  died  about  the  year  1255.  A  host  of  eminent  divines  and 
laymen  in  Germany,  England  and  America,  Protestants  as  well 
as  Roman  Catholics,  have  with  one  accord  chanted  its  praises 
during  the  last  half  century,  and  the  interest  awakened  has  given 
rise  to  a  multitude  of  versions  in  these  countries.  Their  number 
in  the  German  language  is  said  to  be  at  least  100,  and  in  the 
English,  over  235.  Of  the  latter,  Dr.  Schaff,  in  his  "  Literature 
and  Poetry,"  names  150,  and  indicates,  by  asterisks  prefixed,  12 
of  them,  which  he  considers  the  best.  To  the  list  he  adds  the  fol- 
lowing critical  estimate :  "  One  good  translation  is  worth  a  hun- 
dred poor  ones  and  will  outlive  them.  Many  were  still-born  or 
not  born  at  all.  But  the  ever-increasing  number  is  a  proof  of  the 
popularity  and  untranslatableness  of  the  l  Dies  irae,'  the  greatest 
religious  lyric  of  all  ages." 

The  bringing  over  of  a  lyrical  poem  of  the  first  rank  into  an- 
other language  is  indeed  a  difficult  task,  if  the  aim  be,  as  it 
should,  not  a  translation  or  a  paraphrase  merely,  but  a  reproduc- 
tion, that  shall  bear  as  strong  a  likeness  to  the  original  as  pos- 
sible. For  the  attainment  of  such  a  result  the  metrical  form 
must  be  preserved.  It  is  an  essential  element  and  cannot  be 
abandoned  without  loss.  Dr.  Neale,  who  followed  this  rule  in 
his  other  hymns  from  the  Latin,  when  he  took  up  the  "  De  Con- 
temptu  Mundi "  of  Bernard  of  Cluni,  found  in  its  peculiar  meter 
an  insuperable  barrier  and  therefore  wisely  created  from  its  sub- 
stance his  "  Celestial  Country,"  which  is  in  fact  a  new  poem,  equal, 

24 


English  Versions  of  the  Dies  Irce.  25 

and  perhaps  superior,  to  the  old.  Examples  of  this  kind  are, 
however,  extremely  rare. 

And  now  the  question  arises  in  regard  to  the  u  Dies  irae."  Has 
its  meter  as  used  in  our  English  versions  been  successful,  or  is  it 
defective  ?  In  order  to  test  the  matter,  let  any  one  compare  with 
its  first  line,  Dies  irce,  dies  ilia,  these  translations  of  it :  Day 
of  wrath!  0  day  of  mourning  !  (Dr.  Irons),  Day  of  vengeance, 
tvithout  morrow  (Gen.  Dix),  Day  of  wrath,  that  day  of  blam- 
ing (Dr.  Coles),  and  it  will  be  felt  at  once  that  they  are  less 
compact,  and  hence  weaker,  because  they  contain  more  letters, 
for  the  pronunciation  of  which  a  longer  time  is  required.  Counting 
the  letters  in  all  their  stanzas,  the  average  proportion  to  those  of 
the  original  is  as  13.7  to  10,  the  wonderful  compactness  of  the 
Latin  being;  largely  due  to  its  lack  of  articles  and  its  fewer 
prepositions. 

A  further  impediment  to  complete  success  lies  in  the  triple, 
double-rhymed  trochaic  endings  of  the  stanzas.  Unlike  the 
German,  our  language  is  too  poor  to  furnish  enough  of  the  best 
kind,  and  the  critical  ear  is  wounded  by  the  terminal  ings  of  too 
many  present  participles,  as  well  as  by  the  endings,  issio?i,  ution 
and  ation,  which  in  Shakespeare's  day  were  trisyllabic. 

Fortunately  both  these  obstacles  disappear,  if  the  original 
metre,  trochaic  tetrameter,  be  slightly  modified,  made  catalectic 
by  dropping  the  final  syllables.  That  has  been  done  in  the  ver- 
sions of  Archbishop  Trench,  Dean  Alford  and  Dr.  Schaff. 
The  lines  are  rendered  thereby  more  compact,  for  the  letters  in  all 
the  stanzas  of  the  three  versions  named  bear  the  average  propor- 
tion of  but  11.6  to  10  in  the  Latin.  Moreover,  enough  perfect 
single  rhymes  are  attainable. 

The  meter  thus  modified  is,  perhaps,  as  near  to  that  of  the  or- 
iginal as  the  genius  of  the  English  language  will  permit.  And 
yet,  it  is  not  altogether  exotic.  It  plays  its  part  in  one  of  our 
grandest  and  most  popular  hymns,  the  Eock  of  Ages,  with  the 
only  difference  that  its  rhymes,  are  triple,  a  feature  not  at  all 
detrimental  to  the  peculiar  dignity  of  the  poem,  if  the  third  line 
be  read  at  a  lower  pitch  of  the  voice. 


26  English  Versions  of  the  Dies  Irce. 

Defective  rhyme  does  indeed  more  or  less  injure  the  standing 
and  the  value  of  a  lyric  poem.  Sidney  Lanier,  himself  a  master 
of  verse,  has  written :  "  If  the  rhyme  is  not  perfect,  if  it  de- 
mands any,  even  the  least,  allowance,  it  is  not  tolerable.  No 
rhyme  but  a  perfect  rhyme  is  worth  a  poet's  while."  Dr.  Stryker, 
in  his  little  book  on  the  "  Dies  irse,"  approves  of  this  severe 
judgment,  and  says  of  Dean  Alford's  version :  "  It  is  terse,  clear 
and  of  great  dignity :  but  not  without  the  false  junction  of 
'  penned '  with  '  contained  ' — a  slip  of  the  graving  tool  which 
mars  all  the  cameo."  And  yet,  by  a  strange  oversight,  in  his 
own  three  versions  "  afford  "  is  expected  to  chime  with  "  Lord," 
"  creature  "  with  "  nature  "  and  "  peace  "  with  "  these."  That 
false  rhymes  are  far  too  common  in  the  poems  of  almost  all  of 
our  English  bards  cannot  be  denied,  but  there  is  a  wide  differ- 
ence in  their  character.  Some  leave  no  really  bad  impression  and 
may  receive  toleration,  whilst  others  are  very  offensive  to  a  pure 
taste  and  act  like  "  the  dead  flies  in  the  ointment  of  the  apothe- 
cary," or  Horace's  "  poppy  in  Sardinian  honey,"  or  the  opera 
singer's  blundering  note  or  mispronunciation  before  an  Italian 
audience.  But  the  worst  examples  of  the  sort  abound  in  our  hymn- 
books,  in  lyrics  prepared  for  the  service  of  the  sanctuary  and 
sung  every  Sunday  by  thousands  and  thousands  of  worshippers. 
The  ancient  Hebrew  was  not  allowed  to  place  a  defective  victim 
on  the  altar  of  the  Lord.  His  lamb  or  goat  had  to  be  "  without 
blemish  and  without  spot."  If  blind,  or  crippled,  or  lame,  or 
diseased,  it  was  rejected  by  the  priest.  And  so  it  ought  to  be 
here  and  now.  Good  Dr.  Watts,  who  wrote  a  few  excellent 
hymns  in  faultless  rhyme,  nodded  like  Homer  when  he  penned 

"Am  I  a  soldier  of  the  cross, 
A  follower  of  the  Lamb, 
And  shall  I  fear  to  own  his  canse  (cos), 
Or  blush  to  speak  his  name  (nam)  ?  " 

a  stanza  hardly  better  than  the  well-known 

"  Here  I  raise  my  Ebenezer  ; 

Hither  by  thy  help  I've  come, 
And  I  hope  by  thy  good  pleasure  (pleezer) 
Safely  to  arrive  at  home  (hum)." 


English  Versions  of  the  Dies  Irce.  27 

Since  no  human  work  can  be  absolutely  perfect,  defective 
rhymes  may  be  discovered  in  some  of  our  finest  hymns,  but  they 
are  usually  of  a  minor  grade  and  so  hidden  or  atoned  for  by  su- 
periority in  other  respects  that  they  are  unnoticed  by  the  un- 
trained ear,  just  as  the  spots  of  the  sun,  shining  in  his  glory,  are 
observed  by  no  eye  except  that  of  the  astronomer.  In  the  Rock 
of  Ages  "  flowed  "  is  coupled  with  "  blood  "  and  "  cure  '  with 
"  power,"  and  the  "  Dies  irae"  itself  is  not  immaculate.  In  its 
stanzas  2,  8  and  13,  two  of  the  double-rhymed  endings  are  alike, 
and  in  stanzas  11  and  16,  all  three,  yet  this  repetition  does  not 
seem  to  occasion  the  least  jar.  But  in  stanza  15,  prcestra, 
questra  and  dextra  are  not  in  full  accord. 

Some  of  the  translators  have  adopted  a  measure  in  which  the 
trochees  are  converted  into  iambi,  with  a  manifest  loss  of  power. 
This  is  evident  from  the  fact  that 

"  Rock  of  Ages,  cleft  for  me, 
Let  me  hide  myself  in  Thee  !  " 

would  be  greatly  impaired  if  changed  into 

Thou  Rock  of  Ages  cleft  for  me, 
Oh,  let  me  hide  myself  in  Thee  ! 

But,  important  as  the  choice  of  the  right  meter  is  for  the  re- 
production of  the  hymn,  much  more  is  needed.  The  circum- 
stances connected  with  its  birth  demand  careful  consideration. 
Carried  back,  therefore,  along  a  line  of  almost  eight  centuries, 
imagination  brings  us  to  a  learned  and  devout  monk  seated  alone 
in  the  secluded  cell  of  his  cloister.  A  friend  and  associate  of  St. 
Francis  of  Assisi,  he  lives  in  an  age  of  extraordinary  religious 
fervor.  After  long  and  profound  meditation  upon  that  most 
certain  and  tremendous  event  of  the  future,  the  drama  of  the 
last  judgment  unfolds  itself  before  him  step  by  step  in  solemn 
and  distinct  vision.  The  outside  world  has  wholly  vanished  from 
his  thoughts.  His  mind  is  centered  on  one  thing  only,  and  that 
is,  "  the  wrath  to  come."  In  this  exalted  mood  he  is  truly  in- 
spired, and  writes  without  the  least  taint  of  an  ambition  for  lit- 
erary fame  or  the  design  even   of  preparing   a   hymn   for  the 


28  English  Versions  of  the  Dies  Iras. 

service  of  the  church.  His  voice  is  a  genuine  cry  "  out  of  the 
depths  "  and  has  all  the  realness,  simplicity  and  intensity  of  the 
publican's  prayer,  of  Peter's  on  the  sea,  or  those  of  blind  Bar- 
timeus  and  the  Philippian  jailor.  There  is  no  attempt  at  grand- 
iloquence. The  language  and  the  imagery  are  borrowed  from 
the  Holy  Scriptures  and  no  extravagant  terms  are  employed  in 
order  to  heighten  the  effect.  And  just  for  this  reason  it  still  deeply 
moves  the  hearts  of  men  and  will  continue  so  to  do  until  the 
arrival  of  the  day  of  doom  itself.  It  has  been  called  a  "  dirge  " 
and  a  "  threnody,"  which  it  certainly  is  not,  being  a  fervent 
prayer  for  the  salvation  of  a  single  soul.  Although  used  as  a 
sequence  in  the  burial  service  of  the  Roman  Church,  it  contains 
no  trace  of  lamentation  over  the  dead.     It  is  not  at  all  elegiac. 

The  poet  opens  his  hymn  in  the  first  stanza  with  the  declara- 
tion that  the  whole  world  shall  be  reduced  to  ashes,  and  fixes  his 
eye  on  its  completed  destruction.  The  agent  that  produced  it  is 
not  the  chief  thing.  The  sight  of  these  cold  ashes  is  to  him 
more  terrible  than  the  conflagration  itself.  Many  of  the  trans- 
lators think  otherwise  and  introduce  into  their  versions  such 
words  as  "  burning,"  "  flames,"  "  fiery,"  "  lightnings,"  and  the 
like,  all  of  which  are  out  of  place  and  mar  the  beauty  of  the 
poem  by  diverting  the  mind  of  the  reader  from  the  main  thought. 
One  writer  goes  so  far  as  to  glory  in  the  supposed  discovery  that 
the  true  meaning  of  the  word  favilla  has  been  misapprehended, 
and  accordingly,  in  his  several  versions,  renders  it  by  the  phrases, 
"  hot  embers,"  "  fiery  dust  "  and  "  blazing  dust."  Going  back 
to  classic  Latin  we  find  that  it  denotes  what  is  left  of  the  body 
after  Cremation,  and  Horace,  in  his  ode  to  Septimius  (Lib.  2:6), 
enjoins  him  to  shed  a  tributary  tear  on  the  warm  ashes  (favillam 
calentetn)  of  his  poet  friend,  whilst  conveying  them  from  the 
pyre  to  the  urn.  But  the  church  soon  discouraged  cremation* 
Earth-burial  gradually  supplanted  it  and  hence  the  word  favilla 
came,  in  the  course  of  time,  to  signify  the  cold,  earthy  remains 
of  a  corpse,  whether  it  had  been  consumed  by  fire  or  decomposed 
by  the  forces  of  nature.  Such  was  its  meaning  in  the  thirteenth 
century,  as  is  clear  from  its  use  in  the  eighteenth  stanza  of  the 


English  Versions  of  the  Dies  Irce.  29 

"  Dies  irae,"  where  it  must  mean  that  and  nothing  else.  Sir  Walter 
Scott  so  interprets  it  in  his  line,  "  When  man  to  judgment  wakes 
from  clay."  The  idea  of  the  dead  rising  out  of  "  fiery  dust "  has 
no  warrant  in  Scripture.  The  resurrection  precedes  the  judg- 
ment ;  the  conflagration  succeeds  it.  Fire  and  flames  do  indeed 
occur  in  stanzas  fourteen  and  sixteen,  but  they  are  those  of  Ge- 
henna and  not  of  a  burning  world.  The  author  of  the  hymn 
seems  to  have  been  far  less  impressed  by  St.  Peter's  graphic 
picture  of  "  the  elements  melting  with  fervent  heat "  (2  Pet.  3  : 
12)  than  by  the  words  of  St.  Paul:  "For  we  must  all  appear 
before  the  judgment-seat  of  Christ ;  that  every  one  may  receive 
the  things  done  in  his  bodj7,  according  to  that  he  hath  done 
whether  it  be  good  or  bad.  Knowing  therefore  the  terror  of  the 
Lord,  we  persuade  men  "  (2  Cor.  5  :  10,  11). 

From  the  brief  and  simple  reference  to  the  completed  outcome 
of  the  day  of  wrath  in  the  first,  the  poet  in  his  second  stanza  goes 
back  to  its  beginning,  to  the  coming  of  the  Judge,  and  does  not 
lose  sight  of  Him  for  a  moment  through  all  the  sixteen  stanzas 
that  follow.  In  the  third  he  goes  back  still  further  and  describes 
the  resurrection  of  the  dead,  the  assembling  of  the  vast  multitude 
around  the  throne  and  the  unrolling  of  the  written  volumes  in 
which  the  deeds,  good  and  bad,  of  every  individual  man  are 
minutely  recorded.  He  names  but  one  book  {Liber  scriptus), 
whereas  two  or  more  are  spoken  of  in  Daniel  (7  :  18)  and  the 
Apocalypse  (23  :  12).  As  the  art  of  printing  had  not  yet  been 
invented,  books  to  him  were  parchment  scrolls,  volumes  in  the 
original  sense  of  the  word.  Then  he  sees  the  Judge  ascend  the 
throne  with  these  records  spread  out  before  him,  a  judge,  whose  all 
searching  glance  not  the  least  thing  can  escape.  Overwhelmed 
by  the  vision,  he  trembles  and  exclaims  :  u  What,  poor  soul,  will 
become  of  thee  ?  Where  shall  I  find  an  advocate  to  plead  thy 
cause  ?  "  And  then,  instead  of  turning  to  any  patron-saint  of  the 
calendar,  he  makes  a  direct  appeal  to  the  Judge  himself.  The 
remainder  of  the  poem,  and  the  very  heart  of  it,  from  stanza 
eight  to  seventeen  inclusive,  is  a  prayer,  or  rather  a  succession  of 
prayers,  for  mercy.     The  concluding  stanzas,  eighteen  and  nine- 


30  English  Versions  of  the  Dies  Irce. 

teen,  were  probably  added  from  older  sources  by  compilers  of  the 
missals. 

There  is  one  hymn,  before  alluded  to,  of  purely  English  origin, 
which  in  other  points,  besides  that  of  the  meter,  bears  a  strong 
resemblance  to  this  prayer  of  the  "  Dies  irse,"  and,  although  not 
equal  to  it  in  grandeur  and  power,  is  yet  a  lyric  gem  of  price- 
less value.  Toplady,  when  he  composed  the  "  Rock  of  Ages," 
must  have  been  acquainted  with  its  mediaeval  prototype  and  de- 
rived inspiration  from  it,  as  may  be  inferred  from  the  close  of  his 
last  stanza.  But,  for  all  that,  each  is  an  independent  creation. 
The  authors  look  from  different  standpoints  and  represent  differ- 
ent theologies,  which,  however,  are  complemental  and  not  antag- 
onistic. The  Protestant  divine  makes  his  appeal  to  the  Saviour 
on  the  cross  and  lays  special  stress  on  the  present  all-cleansing 
virtue  of  His  atoning  blood,  whilst  the  pious  monk  directs  his 
prayer  to  the  same  Saviour  on  the  throne  of  judgment,  risen, 
exalted,  glorified,  meting  out  their  final  doom  to  the  righteous 
and  to  the  wicked. 

The  quiet  influence  which,  emanating  from  the  "  Dies  irae  "  has 
so  deeply  moved  the  minds  and  hearts  of  scholars  and  educated 
men  in  Great  Britain  and  America,  both  in  our  age  and  those 
bygone,  can  never  be  fully  estimated,  but  there  is  little  risk  in 
ascribing  to  it  the  magnificent  sermon  of  Jeremy  Taylor  on  the 
"  Day  of  Judgment,"  a  masterpiece  in  prose,  well  worthy  of  a 
place  beside  the  great  hymn  itself. 

Having  now  given  free  expression  to  my  views  in  regard  to  the 
"  Dies  irse  "  and  its  translation  into  English,  I  venture  to  add  below 
the  reprint  of  a  version  of  it  already  published  in  the  Guardian 
of  October,  1882,  and  in  Dr.  Schaff's  "  Literature  and  Poetry," 
1890,  because  new  light,  gained  from  further  study,  has  rendered 
certain  amendments  and  alterations  desirable.  Of  course,  no 
claim  of  superiority  or  equality  to  any  hitherto  produced  is  as- 
sumed on  its  behalf. 


English  Versions  of  the  Dies  Irce. 


31 


Dies  Iile. 
i. 

Dies  irae,  dies  ilia, 
Solvet  sseclum  in  favilld, 
Teste  David  cum  Sybilld. 

II. 

Quantus  tremor  est  futurus, 
Quando  Judex  est  venturus, 
Cuncta  stricte  discussurus  ! 

in. 

Tuba,  mirum  spargens  sonum 
Per  sepulchra  regionum, 
Coget  omnes  ante  thronum. 

IV. 

Mors  stupebit,  et  natura, 
Cum  resurget  creatura, 
Judicanti  responsura. 

v. 

Liber  scriptus  proferetur, 
In  quo  totuin  continetur, 
Unde  mundus  judicetur. 

VI. 

Judex  ergo  cum  sedebit 
Quidquid  latet  apparebit, . 
Nil  inultum  remanebit. 

VII. 

Quid  sum,  miser,  tunc  dicturus, 
Quern  patronum  rogaturus, 
Cum  vix  Justus  sit  securus? 

Till. 

Eex  treniendse  majestatis, 
Qui  salvandos  salvas  gratis, 
Salva  me,  fons  pietatis  ! 

IX. 

Recordare,  Jesu  pie, 
Quod  sum  causa  tuae  vise  ; 
Ne  me  perdas  ilia  die  ! 


Day  of  Wrath. 
1. 

Day  of  wrath  !   That  final  day 
Shall  the  world  in  ashes  lay, 
David  and  the  Sybil  say. 


Oh,  what  tremor  there  will  be, 
When  the  Judge,  mankind  shall  see 
Come  from  strictest  scrutiny  ! 


Pealing  far  the  trumpet's  tone 
Shall  from  graves  of  every  zone, 
Gather  all  before  the  throne. 

4. 

Death  and  Nature,  in  surprise, 
Shall  behold  the  creature  rise, 
Summoned  to  the  grand  assize. 

5. 

Then  the  books*  shall  be  unrolled, 
In  whose  volumes  manifold 
All  the  deeds  of  time  are  told. 

6. 

When  his  seat  the  Judge  has  ta'en, 
Hidden  things  will  hide  in  vain, 
Naught  shall  unavenged  remain. 

7. 

What,  poor  soul,  wilt  thou  then  say? 
Who  shall  plead  for  thee  that  day, 
When  the  righteous  feel  dismay? 

8. 

King  of  dreadful  majesty, 
Whose  salvation  is  so  free, 
Fount  of  Pity,  save  Thou  me  ! 

9. 

Jesu,  kind,  remember  I 

Caused  Thy  coming  down  to  die  ; 

Lest  I  perish,  heed  my  cry  ! 


*  See  Dan.  7  :  10  and  Rev.  22  :  12. 


32 


English  Versions  of  the  Dies  Irce. 


Dies  Ir.e. 

x. 

Quaereus  me,  sedisti  lassus, 
Eedemisti  crucem  passus : 
Tantns  labor  non  sit  cassus. 

XI. 

Juste  Judex  ultiouis, 
Donuni  fac  remissionis 
Ante  diem  rationis  ! 

XII. 

Ingemisco  tanquani  reus, 
Culpa"  rubet  vultus  meus  ; 
Supplicanti  parce,  Deus  ! 

XIII. 

Qui  Mariam  absolvisti, 
Et  latronem  exaudisti, 
Mibi  quoque  spem  dedisti. 

XIV. 

Preces  mese  non  sunt  dignae, 
Sed  Tu  bonus  fac  benigne, 
Ne  perenni  creuier  igne. 

XV. 
Inter  oves  locum  praesta, 
Et  ab  baedis  me  sequestra, 
Statuens  in  parte  dextra. 

xvi. 
Confutatis  maledictis. 
Flammis  acribus  addictis, 
Voca  me  cum  benedictis  ! 

XVII. 

Oro  supplex  et  acclinis, 
Cor  contritum  quasi  cinis  : 
Gere  curam  mei  finis  ! 


XVIII. 

Lacrymosa  dies  ilia, 
Qua  resurget  ex  fa  villa, 
Judicandus  homo  reus, 
Huic  ergo  parce,  Deus  ! 

XIX. 

Jesu  pie,  Domine, 
Dona  eis  requie  ! 

Amen. 


Day  of  Wrath. 

10. 
By  Thee  weary  I  was  sought, 
By  thy  bitter  passion  bought ; 
Can  such  labor  go  for  naught  ? 

11. 

Just  Avenger,  let  me  win 
Full  remission  of  my  sin, 
Ere  the  reckoning  begin  ! 

12. 
Like  a  criminal  I  groan  ; 
Blushing,  all  my  guilt  I  own  : 
Hear,  O  God,  a  suppliant's  moan  ! 

13. 

Mary's  pardon  came  from  Thee 
And  the  robber's  on  the  tree, 
Giving  also  hope  for  me. 

14. 

Tho  my  prayers  no  merit  earn, 
Let  Thy  favor  on  me  turn, 
Lest  in  quenchless  fire  I  burn. 

15. 
From  the  goats  my  lot  divide, 
With  the  sheep  a  place  provide 
On  Thy  right  hand,  justified. 

16. 

As  the  cursed,  clothed  in  shame, 
Pass  to  fierce,  tormenting  flame, 
With  the  blessed  call  my  name  ! 

17. 
Broken-hearted,  low  I  bend  ; 
From  the  dust  my  prayer  I  send  : 
Let  Thy  mercy  crown  my  end  ! 


18. 
When,  on  that  most  tearful  day, 
Man  to  judgment  waked  from  clay 
Quails  at  Thine  uplifted  rod, 
Spare  the  sinner,  gracious  God  ! 

19. 
Jesu,  Lord,  their  trials  o'er, 
Grant  them  rest  forevermore  ! 
Amen. 


ir—NPT^ 


ITTTS 


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